AFRICAN LITERATURE

In the 1960s, much diatribe was exchanged by African literary artists within their caucus, and outside with different scholars interested in
African literature. Wali demonstrates this disagreement. He comments, “… until these writers and their western midwives accept the fact that
true African literature must be written in African languages, they would be merely pursuing a dead end, which can only lead to sterility,
uncertainty, and frustration.” In reply to Wali, Achebe expresses, “…you cannot cram African literature in a small, neat definition. I do not see
African literature as one unit but as associated units – in fact, the sum total of all the national and ethnic literatures of Africa”. The
disagreement is no longer conspicuous. However, the question that demands an answer is, “Have African languages become productive in
African literature?” This paper argues that they have not, maybe, yet. It assesses this situation, providing factors responsible. One of such
factors is the nondevelopment and underdevelopment of the African languages. Besides, the paper makes recommendations that can
salvage the situation; one of which is instituting awards for literary works in African languages.

African literature is literature of or from Africa and includes oral literature (or "orature", in the term coined by Ugandan scholar Pio
Zirimu).[1]
As George Joseph notes in his chapter on African literature in Understanding Contemporary Africa, whereas European views of
literature often stressed a separation of art and content, African awareness is inclusive:
"Literature" can also simply mean an artistic use of words for the sake of art alone. [...]Traditionally, Africans do not radically separate
art from teaching. Rather than write or sing for beauty in itself, African writers, taking their cue from oral literature, use beauty to help
communicate important truths and information to society. Indeed, an object is considered beautiful because of the truths it reveals and
the communities it helps to build.[2]
Oral literature[edit]
Oral literature (or orature) may be in prose or verse. The prose is often mythological or historical and can include tales of
the trickster character. Storytellers in Africa sometimes use call-and-response techniques to tell their stories. Poetry, often sung,
includes: narrative epic, occupational verse, ritual verse, praise poems of rulers and other prominent people. Praise singers, bards
sometimes known as "griots", tell their stories with music [3]. Also recited, often sung, are love songs, work songs, children's songs,
along with epigrams, proverbs and riddles. These oral traditions exist in many languages including Fula, Swahili, Hausa, and Wolof [4].
In Algeria, oral poetry was an important part of Berber traditions when the majority of the population was illiterate. These poems,
called Isefra, were used for aspects of both religious and secular life. The religious poems included devotions, prophetic stories, and
poems honoring saints. The secular poetry could be about celebrations like births and weddings, or accounts of heroic warriors [5]. As
another example, in Mali, oral literature or folktales continue to be broadcast on the radio in the native language Booma.[6]
Precolonial literature[edit]
Examples of pre-colonial African literature are numerous. In Ethiopia, there is a substantial literature written in Ge'ez going back at
least to the fourth century AD; the best-known work in this tradition is the Kebra Negast, or "Book of Kings." One popular form of
traditional African folktale is the "trickster" story, in which a small animal uses its wits to survive encounters with larger creatures.
Examples of animal tricksters include Anansi, a spider in the folklore of the Ashanti people of Ghana; Ijàpá, a tortoise in Yoruba folklore
of Nigeria; and Sungura, a hare found in central and East African folklore.[7] Other works in written form are abundant, namely in north
Africa, the Sahel regions of west Africa and on the Swahili coast. From Timbuktu alone, there are an estimated 300,000 or more
manuscripts tucked away in various libraries and private collections,[8] mostly written in Arabic but some in the native languages
(namely Fula and Songhai).[9] Many were written at the famous University of Timbuktu. The material covers a wide array of topics,
including astronomy, poetry, law, history, faith, politics, and philosophy.[10] Swahili literature similarly, draws inspiration from Islamic
teachings but developed under indigenous circumstances. One of the most renowned and earliest pieces of Swahili literature
being Utendi wa Tambuka or "The Story of Tambuka".
In Islamic times, North Africans such as Ibn Khaldun attained great distinction within Arabic literature. Medieval north Africa boasted
universities such as those of Fes and Cairo, with copious amounts of literature to supplement them.
Colonial African literature[edit]
The African works best known in the West from the periods of colonization and the slave trade are primarily slave narratives, such
as Olaudah Equiano's The Interesting Narrative of the Life of Olaudah Equiano (1789).
In the colonial period, Africans exposed to Western languages began to write in those tongues. In 1911, Joseph Ephraim Casely
Hayford (also known as Ekra-Agiman) of the Gold Coast (now Ghana) published what is probably the first African novel written in
English, Ethiopia Unbound: Studies in Race Emancipation.[11] Although the work moves between fiction and political advocacy, its
publication and positive reviews in the Western press mark a watershed moment in African literature.
During this period, African plays written in English began to emerge. Herbert Isaac Ernest Dhlomo of South Africa published the first
English-language African play, The Girl Who Killed to Save: Nongqawuse the Liberator in 1935. In 1962, Ngũgĩ wa
Thiong'o of Kenya wrote the first East African drama, The Black Hermit, a cautionary tale about "tribalism" (discrimination between
African tribes).
Among the first pieces of African literature to receive significant worldwide critical acclaim was Things Fall Apart, by Chinua Achebe.
Published in 1958, late in the colonial era, Things Fall Apart analyzed the effect of colonialism on traditional African society.[12]
African literature in the late colonial period (between the end of World War I and independence) increasingly showed themes
of liberation, independence, and (among Africans in French-controlled territories) négritude. One of the leaders of the négritude
movement, the poet and eventual President of Senegal, Léopold Sédar Senghor, published in 1948 the first anthology of French-
language poetry written by Africans, Anthologie de la nouvelle poésie nègre et malgache de langue française (Anthology of the New
Black and Malagasy Poetry in the French Language), featuring a preface by the French existentialist writer Jean-Paul Sartre.[13]
For many writers this emphasis was not restricted to their publishing. Many, indeed, suffered deeply and directly: censured for casting
aside his artistic responsibilities in order to participate actively in warfare, Christopher Okigbo was killed in battle for Biafra against the
Nigerian movement of the 1960s' civil war; Mongane Wally Serote was detained under South Africa's Terrorism Act No 83 of
1967 between 1969 and 1970, and subsequently released without ever having stood trial; in London in 1970, his countryman Arthur
Norje committed suicide; Malawi's Jack Mapanje was incarcerated with neither charge nor trial because of an off-hand remark at a
university pub; and, in 1995, Ken Saro-Wiwa was hanged by the Nigerian junta.
Postcolonial African literature[edit]
With liberation and increased literacy since most African nations gained their independence in the 1950s and 1960s, African literature
has grown dramatically in quantity and in recognition, with numerous African works appearing in Western academic curricula and on
"best of" lists compiled at the end of the 20th century. African writers in this period wrote both in Western languages
(notably English, French, and Portuguese) and in traditional African languages such as Hausa.
Ali A. Mazrui and others mention seven conflicts as themes: the clash between Africa's past and present, between tradition and
modernity, between indigenous and foreign, between individualism and community, between socialism and capitalism, between
development and self-reliance and between Africanity and humanity.[14] Other themes in this period include social problems such as
corruption, the economic disparities in newly independent countries, and the rights and roles of women. Female writers are today far
better represented in published African literature than they were prior to independence.
In 1986, Wole Soyinka became the first post-independence African writer to win the Nobel Prize in literature. Previously, Algerian-
born Albert Camus had been awarded the prize in 1957.
Contemporary developments[edit]
There are a lot of literary productions in Africa since the beginning of the current decade (2010), even though readers do not always
follow in large numbers.[15] One can also notice the appearance of certain writings that break with the academic style.[16] In addition, the
shortage of literary critics can be explored on the continent nowadays.[17] Literary events seem to be very fashionable, including literary
awards, some of which can be distinguished by their original concepts. The case of the Grand Prix of Literary Associations is quite
illustrative.[18] Brittle Paper, founded by Ainehi Edoro, has been described as "Africa’s leading literary journal"[19].
Literature published in Africa[edit]
Inaugurated in 1980 and running till 2009, the Noma Award for Publishing in Africa was presented for the outstanding work of the year
published in Africa.[20]